>>> WELCOME, EVERYONE. THANK
YOU FOR JOINING OUR SEATTLE
WITHIN REACH CONVERSATION. I'M
COUNCILMEMBER REPRESENTING
DISTRICT TWO. THIS IS A SERIES
OF CONVERSATIONS WE HAVE BEEN
HAVING FOR ABOUT THE LAST YEAR.
WE ARE REALLY TRYING TO HAVE
DISCUSSIONS ABOUT HOW WE
INTENTIONALLY CREATE WELL
RESOURCED NEIGHBORHOODS, BETTER
CONNECTED THAT OFFER ESSENTIAL
GOODS AND SERVICES THAT PEOPLE
CAN ACCESS WITHOUT HAVING TO
DRIVE TO THEM. THE IDEA IS
REALLY TO TALK WITH LOCAL AND
NATIONAL PRACTITIONERS ABOUT
HOW WE BUILD HEALTHY
NEIGHBORHOODS, HOW WE MAKE SURE
THAT THOSE SERVICES, THOSE
AMENITIES ARE WITHIN REACH OF
EVERY SEATTLE HOME WITHOUT
HAVING TO GET INTO A CAR.
THROUGHOUT THE SERIES, WE HAVE
BEEN FOCUSING ON PARTICULAR
TOPICS, PARTICULARLY AS IT
RELATES TO THE COMPREHENSIVE
PLAN AND INTERSECTIONS OF
DIFFERENT CHAPTERS OF THE PLAN.
WE HAVE TALKED ABOUT THE PLAN
AND PROCESS ITSELF. WE HAVE
TALKED ABOUT HOUSING, MOBILITY,
ECONOMIC DEVELOPMENT, CLIMATE
JUSTICE. SO IF THERE ARE
PARTICULAR TOPICS THAT YOU ARE
INTERESTED IN AND WOULD LIKE TO
HEAR MORE ABOUT, LEZE LET US
KNOW. WE ARE DOING OUR
SCHEDULING FOR THE YEAR AS WE
SPEAK. TODAY'S TOPIC IS ARTS
AND CULTURE. I AM VERY EXCITED
TO HAVE SOME VERY WELL
RESPECTED FOLKS JOINING OUR
CONVERSATION TODAY. SO I'M
GOING TO INTRODUCE THEM BEFORE
WE GET STARTED. SO CHIEKO
PHILLIPS IS THE HERITAGE
PROGRAM DIRECTOR AT 4 CULTURE,
THE CULTURAL FUNDING AGENCY FOR
KING COUNTY, WHERE SHE SUPPORTS
PRACTITIONERS WHO PRESERVE AND
SHARE THE HISTORY AND MATERIAL
CULTURE OF KING COUNTY
WASHINGTON. PREVIOSLY THE
DIRECTOR OF BLACK PAST, AN
ONLINE RESOURCE FOR GLOBAL
AFRICAN AMERICAN HISTORY, SHE
HAS ALSO HELD POSITIONS AT THE
NORTHWEST AFRICAN AMERICAN
MUSEUM, THE UNITED NEGRO
COLLEGE FUND AND THE
PHOTOGRAPHIC CENTER OF
NORTHWEST. CHIEKO SITS ON THE
BOARD OF THE ASSOCIATION OF
KING COUNTY HISTORICAL
ASSOCIATIONS AND HAS PREVIOUSLY
SERVED AS A SEATTLE ARTS
COMMISSIONER. SHE IS A GRADUATE
OF DAVIS COLLEGE AND HOLDS A
B.A. IN HISTORY AND A MASTER'S
IN MUSEUM STUDIES FROM THE
UNIVERSITY OF WASHINGTON. WE
ALSO HAVE WITH US RANDY
ENGSTROM WHO HAS BEEN A
PASSIONATE ADVOCATE FOR
COMMUNITY DEVELOPMENT FOR OVER
20 YEARS. RANDY IS CURRENTLY
THE OWNER AND PRINCIPAL OF
THIRD WAY CREATIVE, A
COLLABORATIVE CONSULTING STUDIO
FOCUSED ON CULTURAL POLICY,
RACIAL EQUITY AND CREATIVE
ECONOMY. HE IS ALSO AT THE
FACULTY AT SEATTLE UNIVERSITY'S
ARTS LEADERSHIP PROGRAM AND A
REGULAR LECTURER AT THE SCHOOL
OF GOVERNANCE AND PUBLIC POLICY
AT THE UNIVERSITY OF
WASHINGTON. RANDY SERVED AS THE
DIRECTOR OF THE ARTS AND
CULTURE FOR THE CITY OF SEATTLE
WHERE HE ESTABLISHED NEW
PROGRAMS AND POLICIES IN ARTS,
AFFORDABILITY, AND RACIAL
EQUITY. THANK YOU FOR BEING
HERE. REALLY EXCITED TO HAVE
YOU.
>> AS I MENTIONED, THE SERIES
THAT WE ARE DOING HERE HAS BEEN
FOCUSED ON DIFFERENT ELEMENTS
OF OUR COMPREHENSIVE PLAN AND
DIFFERENT WAYS TO TALK ABOUT
LAND USE. SO I WANTED TO START
WITH A REALLY BROAD QUESTION
FOR BOTH OF YOU WHICH IS WHAT
DOES IT MEAN TO CONSIDER THAT
INTERSECTION OF ARTS AND
CULTURE SECTOR AS IT RELATES TO
LAND USE? AND MAYBE IF YOU CAN
TALK ABOUT SOME SPECIFICS OF
THE SECTOR, HOW THEY ARE
IMPACTED BY SOMETHING LIKE THE
COMPREHENSIVE PLAN? I WILL OPEN
IT UP FOR BOTH OF YOU TO CHIME
IN.
>> DO YOU WANT TO GO FIRST?
>> RANDY, GO FOR IT.
>> ALL RIGHT. I'LL GO FIRST.
THANK YOU FOR HAVING US. I
APPRECIATE THE OPPORTUNITY TO
BE A LITTLE BIT OF AN
EVANGELIST FOR THE CULTURAL
CENTER AND THE CREATIVE WORKERS
IN THE CITY AND REGION. THE
FIRST THING I WILL SAY IS I
DON'T THINK CULTURE IS OPTIONAL
IN A COMP PLAN. I THINK IT GETS
TREATED LIKE SOMETHING THAT IS
NYSTO HAVE BUT WHETHER YOU LOOK
AT IT FROM THE LENS OF SORT OF
THE BELONGING AND SOCIAL
COHESION OR THE LENS OF
CREATIVE ECONOMY AND SORT OF
GROWING THE WORKFORCE OF OUR
REGION, I THINK IT IS
ESSENTIAL. THE BEST WAY I HAVE
EVER HEARD IT PUT I THINK WAS
THE INAUGURAL POET CLAUDIO LUNA
WHICH SHE SPOKE AT THE MAYOR
ARTS AWARDS IN 2013 OR 2014.
SHE SAID SEATTLE IS A HOUSE AND
EVERYONE WHO LIVES HERE BELONGS
HERE. TO ME, ARTS AND CULTURE
IS CENTRAL TO HOW WE FOSTER
BELONGING IN A REGION. NO ONE
VISITS SEATTLE TO MARVEL AT THE
CLOUD COMPUTING. NO ONE VISITS
SEATTLE TO TAKE IN THE WONDER
OF OFFICE TOWERS. THEY COME
HERE BECAUSE OF OUR CULTURE.
OUR CULTURE IS ESSENTIAL TO OUR
ANXIETY IN LIKE A SOCIAL AND
EMOTIONAL WAY AND OUR CULTURE
IS ALSO CENTRAL TO THE ECONOMIC
DEVELOPMENT FUTURE OF OUR CITY
AND REGION. SO I HOPE THE COMP
PLAN INTEGRATES THAT IN
WHATEVER WAY THEY CAN. WHAT DO
YOU THINK CHIEKO?
>> YEAH, AND GOING LITERAL WITH
THE QUESTION BUT WHEN I THINK
OF LAND USE AND THE ARTS
SECTOR, I THINK OF THE
BUILDINGS AND THE SPACES AND
EVEN THE CULTURAL LANDSCAPES
THAT MAY BE OUTDOOR MEETING
SPACES, AND EVEN FOR PROFIT
BUSINESSES, WHERE ARTS HAPPENS,
WHERE CULTURE HAPPENS, WHERE
HISTORIES ARE SHARED, STORIES
ARE SHARED. SO WHEN I THINK OF
LAPD USE, I'M THINKING OF THOSE
BUILDINGS WHERE THE SECTOR
HAPPENED. SO IN THAT, ALSO, I'M
FROM THE HERITAGE FIELD SO I'M
SPECIFICALLY ALWAYS THINKING
ABOUT THE OLDER SPACES, OUR
SPACES THAT HAVE CULTURAL
SIGNIFICANCE THAT MAY BE BEYOND
ARCHITECTURAL INTEGRITY. AND
ALSO I THINK A LOT ABOUT LAND
CONSERVATION IN TERMS OF NATIVE
LED ECOSYSTEM RESTORATION, AND
HOW CAN SOME OF THOSE
CONSERVATION EFFORTS INTERSECT
WITH THE CULTURAL SECTOR. SO I
HAVE A LOT OF THINGS AROUND HOW
LAND USE INTERSECTS WITH THE
ARTS BUT I WILL START THERE.
>> THANK YOU FOR THAT. AND I
GUESS I SHOULD SAY, AS SOMEONE
WHO IS TRAINED AS A
NEIGHBORHOOD PLANNER, I HAVE A
ZONING IN ON THE LAND USE
QUESTION IN PARTICULAR. BUT I
AM THINKING ABOUT WHAT IT MEANS
FOR INDIVIDUAL ARTISTS IN TERMS
OF AFFORDABILITY AND THE
ABILITY TO STAY IN THE CITY AND
THE ABILITY TO CREATE THEIR
ART, AND ALSO IN TERMS OF MAYBE
MORE TO RANDY'S POINT ABOUT
WHAT IS THE IMPACT ON COMMUNITY
OF BEING ABLE TO RETAIN OUR
ARTISTS IN THE CITY BECAUSE
THEY ARE NOT GETTING PUSH OUT.
SO MAYBE I WILL ASK YOU TO TALK
A LITTLE BIT ABOUT SORT OF THE
AFFORDABILITY IMPACT ON ARTISTS
AND WHAT THEY NEED TO BE ABLE
TO STAY AND THRIVE IN THE
COMMUNITY.
>> DO YOU WANT TO TAKE THAT ONE
FIRST, CHIEKO?
>> NO.
>> WELL, TO ME, THERE IS AN
INTERESTING TENSION OF THE FACT
THAT THAT ARTISTS AND OUR
CREATIVE ECOLOGY IS SUCH
ESSENTIAL DRIVER TO THIS CITY
AND REGION. AND WE ARE
GRAPPLING WITH AN AFFORDABILITY
CRISIS THAT IS PUSHING CREATIVE
WORKERS AND MODEST INCOME
FAMILIES OUT OF THE CITY. THERE
ARE A WHOLE HOST OF REASONS FOR
THAT AND YOU DID A SECTION ON
THE HOUSING ISSUE WHICH IS
EVERYONE'S ISSUE. BUT I WILL
SAY WHEN PEOPLE WERE ENGAGED
AROUND WHAT WAS IMPORTANT TO
THEM, THE COMP PLAN, THEY
TALKED ABOUT HAVING A THIRD
PLACE AND A CULTURAL HOME. THE
BUILDINGS AND HISTORIES THAT
CHIEKO TALKED ABOUT. A LOT OF
TIMES THEY ARE IN THE OLD
BUILDINGS BECAUSE THEY ARE
MAGNETS FOR CULTURAL ACTIVITY.
IF THOSE ARE THE THINGS MOST
IMPORTANT TO PEOPLE, WE HAVE TO
FIND A WAY THROUGH POLICY,
RESOURCES TO RETAIN THE FOLKS
THAT DRIVE THE ORGANIZATION.
SOMETHING I KNOW WE WILL TALK
ABOUT IN THE COURSE OF THE
CONVERSATION IS AROUND WHAT
DOES IT MEAN TO SUPPORT A
CREATIVE WORKFORCE? WHAT DOES
IT LOOK LIKE TO PROVIDE
HEALTHCARE FOR INDEPENDENT
ARTISTS THAT ARE WORKING 1099
GIGS HERE AND THERE? WHAT DOES
IT LOOK LIKE TO SUPPORT TO HAVE
A TRANSPORTATION SYSTEM THAT
HAS ODD HOURS BECAUSE THAT IS
OFTEN THE NATURE OF THE WORK.
I'M EXCITED THAT ERICK HAS
JOINED US BECAUSE I THINK THE
WORK IN THE DISTRICT IS
INSTRUCTIVE IN THIS. HOW DO YOU
BUILD POLICY AND PROGRAMS THAT
CAN CENTER CULTURAL AND
CREATIVE WORKERS WHO HAVE AN
AUTHENTIC CONNECTION TO THEIR
COMMUNITY AND ALLOW FOR THOSE
FOLKS TO STAY AND BE PART OF
THEIR WORK? I HAVE SEEN TOO
MANY PEOPLE I LOVE RELOCATE TO
LOS ANGELES OR NEW YORK IN THE
LAST FIVE YEARS. I WOULD REALLY
LOVE TO STEM THE TIDE. I THINK
WE HAVE WITH MANY OF THE TOOLS
AND RESOURCES, TO DO THAT IF WE
HAVE THE POLITICAL WILL TO DO
THAT. SO I WILL BE DONE.
>> THANK YOU, YEAH. AND THANK
YOU. WE HAVE BEEN JOINED BY
ERIC ARGUELLO. GLAD YOU WERE
ABLE TO.
>> YEAH, THE TECHNOLOGY, RAIN
AND WEATHER IN SAN FRANCISCO IS
A LITTLE UNSETTLING WITH THE
INTERNET.
>> I WANT TO GO AHEAD AND
INTRODUCE YOU THEN. SO ERICK IS
JOINING US FROM SAN FRANCISCO
WHERE HE IS THE ADVOCACY
MANAGER UNDER THE CENTER FOR
SOCIAL JUSTICE AT GLIDE.
ERICK'S WORK SPANS OVER 25
YEARS ADVOCATING TO PRESERVE
AND PROTECT THE MISSIONS OF
LATINX COMMUNITY. HE IS THE
FOUNDER AND PRESIDENT OF CALL
24. THERE ARE 12 THROUGHOUT SAN
FRANCISCO AND THEY ARE AIMING
TO PRESERVE THE CULTURAL
DIVERSITY. HE IS THE RECIPIENT
OF THE 2011 LATINO HERITAGE
MONTH LOCAL HERO AWARD, 2014
CESAR CHAVEZ AWARD, 2008 LGBTQ
INDIVIDUAL COMMUNITY GRAND
MARSHAL AND THE 2003 COMMUNITY
DELARASA, REYES AWARD. THANK
YOU FOR JOINING US ERICK. WE
ARE JUST GETTING STARTED,
TALKING A LITTLE BIT ABOUT THE
INTERSECTION OF LAND USE AND
COMPREHENSIVE PLANNING IN THE
ARTS AND CULTURE SECTOR. BUT I
WONDER IF I MIGHT ASK YOU A
LITTLE BIT -- TO TALK A LITTLE
BIT ABOUT HOW CALLE 24 BEGAN.
HOW DID THE COMMUNITY DECIDE TO
MOVE TOWARDS THE IDEA OF A
CULTURAL DISTRICT? AND HOW IS
THE CITY'S PLANNING PROCESS
INCORPORATING YOUR GOALS OF
PRESERVATION THERE?
>> SURE, SURE. THANK YOU FOR
INVITING ME TO SPEAK WITH THE
GROUP. THE REASON WE STARTED
THE CULTURAL DISTRICT IS
BECAUSE OF DISPLACEMENT
GENTRIFICATION THAT WAS
HAPPENING IN THE DISTRICT. AS
OF 2022, WE LOST ABOUT 14,000
LATINX INDIVIDUALS FROM THE
MISSION DISTRICT. THAT INCLUDES
ARTISTS, PEOPLE WHO ARE OWNERS
OF SMALL BUSINESSES, PEOPLE WHO
ARE VENDORS, EVERYTHING THAT
MAKES UP COMMUNITY IN THE
MISSION DISTRICT. SO WE WERE
LOOKING AT WAYS TO BE ABLE TO
SLOW THAT DOWN OR STOP IT AND
TO PROTECT OUR CULTURAL ASSETS.
WITH THAT MANY PEOPLE LEAVING,
YOU KNOW, IT IS JUST NOT
PEOPLE. IT IS ALSO THE ARTS
THAT GOES WITH IT. IT IS ALSO
THE EVENTS THAT GO WITH IT. IT
IS ALL CONNECTED. IF WE DON'T
HAVE THE PEOPLE, WE DON'T HAVE
THE ASSETS WE ARE TRYING TO
PROTECT. WE LOOKED AT OTHER
CITIES TO SEE WHAT THEY WERE
DOING. WE LOOKED AT AN L.A. WE
VISITED CHINA TOWN IN SAN
FRANCISCO TO GET AN IDEA OF THE
THINGS THEY WERE DOING TO
PRESERVE THE ARTS AND CULTURE,
AND COMMUNITY IN THE AREAS. WE
LEARNED EVERY NEIGHBORHOOD IS
DIFFERENT. EVERY NEIGHBORHOOD
IS UNIQUE. WE HAD TO TAKE A
LITTLE FROM EVERYWHERE AND SEE
HOW WE CAN MAKE IT WORK FOR OUR
NEIGHBORHOOD AND KIND OF
CUSTOMIZE IT. ONE OF THE FIRST
THINGS WE THOUGHT ABOUT WAS AN
ARTS DISTRICT. WE DIDN'T FEEL
THAT COVERED EVERYTHING THAT WE
NEEDED TO DO IN ORDER TO KEEP
THAT DIVERSITY IN SAN
FRANCISCO, PROTECT THE
COMMUNITY BECAUSE THERE ARE A
LOT OF DIFFERENT ASPECTS TO
KEEPING A COMMUNITY. SO WE
WANTED TO A BROADER -- YOU
KNOW, WE THOUGHT ABOUT JUST A
CULTURAL DISTRICT BUT WE WANTED
TO BE MORE SPECIFIC. WE WANTED
TO FOCUS ON THE LATINO CULTURE.
WE WANTED TO FOCUS ON A CERTAIN
ETHNICITY AND BE CLEAR TO FOLKS
WHAT THAT WAS. SO THAT IS HOW
IT BECAME BECAUSE THE
GENTRIFICATION DISPLACEMENT. WE
HAD TO WORK WITH OUR DISTRICT
SUPERVISORS AND SAN FRANCISCO
HERITAGE AND THE LATINO
ASSOCIATION THAT WORKS ON
PRESERVATION. YOU KNOW, TO WORK
AS A TEAM TO PUT THIS TOGETHER.
>> WE LEARNED A LOT AND WE ARE
STILL LEARNING AS WE GO. THERE
ARE LAYERS TO IT. IT IS NOT A
MAGIC BULLET. WE KNOW THAT
KNOWLEDGE IS A GREAT STEP BUT
GENTRIFICATION STILL HAPPENS.
OUR ARTISTS ARE STILL BEING
REMOVED. THE CULTURE IS
DISAPPEARING. SO WE HAD TO
LAYER IT WITH SPECIAL USE
DISTRICTS WHERE PRESERVATION
STRATEGIES AND MAKING SURE
THERE ARE PEOPLE ON THE GROUND
BECAUSE IT HAS TO WORK
TOGETHER, ALL OF THE DIFFERENT
PIECES.
>> RIGHT, YEAH. IT STARTS TO
GET COMPLICATED. AND YOU KNOW,
THE MARKET FORCES SERM PLAY
INTO THIS AND THAT IS PART OF
THE CHALLENGE HERE FOR SURE.
ESPECIALLY WHEN YOU ARE TALKING
ABOUT WANTING TO MAKE SURE
PEOPLE CAN AFFORD TO STAY, THAT
THERE IS PRESERVATION AND NOT
THE COMPLETE DISPLACEMENT OF
WHAT YOU ARE TRYING TO PROTECT.
RIGHT.
>> ECONOMIC DEVELOPMENT IS A
BIG PIECE OF IT TOO.
>> AND RANDY REFERRED TO THE
FACT THAT PEOPLE HAVE THE
ABILITY TO SUPPORT THEMSELVES
AND FAMILY, ABILITY TO CREATE
SMALL BUSINESSES AND KEEP THEM
THRIVING IN THE COMMUNITY AND
THE CUSTOMER BASE, THOSE THEY
ARE PROVIDING SERVICES TO ARE
ALSO ABLE TO STAY IN THE
NEIGHBORHOOD. LOTS OF LAYERS,
COMPLEXITY THERE.
>> EVEN THE ECONOMIC COMPONENT,
WE REALLY HAD TO DEFINE IT
FURTHER. WE CALL IT A CULTURAL
ECONOMY. THAT'S WHAT KEEPS
THINGS GOING IN THE
NEIGHBORHOOD, OUR VENDORS,
EVENTS, THEY ARE GENERATING
REVENUE FOR THE COMMUNITY. THEY
ARE CREATING JOBS AND THEY ARE
ALSO CREATING REVENUE FOR THE
CITY AS A WHOLE.
>> AND WE HAVE HAD A LONG STUDY
HERE IN SEATTLE ABOUT OUR
CREATIVE ECONOMY AND THE IMPACT
IT HAS ON OUR CITY. CHIEKO, I
WONDER IF YOU COULD TALK A
LITTLE BIT ABOUT 4 CULTURE.
THIS IS PART OF THE KING
COUNTY. THEY RECOGNIZE AND
CELEBRATE THE CONTRIBUTIONS OF
OUR VERY DIVERSE COMMUNITY TO
THE CULTURAL LANDSCAPE. CAN YOU
TALK ABOUT WHY 4 CULTURE OFFERS
CULTURAL FACILITIES GRANTS, HOW
COMMUNITIES OF COLOR BENEFIT
FROM THAT, AND JUST SORT OF
WHAT YOU ARE DOING TO ENSURE
THERE IS REPRESENTATION IN THE
WORK THAT IS HAPPENING IN OUR
CULTURAL LANDSCAPE?
>> YES, ABSOLUTELY. SO 4
CULTURE IS KING COUNTY'S
CULTURAL DEVELOPMENT AUTHORITY,
SPECIFICALLY FOR CULTURAL
SERVICES. SO WE RECEIVE THE 1%
FOR ART FUNDS AS WELL AS A
PERCENTAGE OF THE LODGING TAX
TO SUPPORT JUST CULTURE AND
WHAT IS HAPPENING HERE IN KING
COUNTY. WE HAVE BROAD
DEFINITION OF CULTURE WHICH
INCLUDES HISTORIC PRESERVATION,
WE ARE EXPANDING INTO EQUITABLE
DEVELOPMENT, HERITAGE IS WHERE
I WORK, ARTS, AND PUBLIC ARTS.
SO WE HAD A FACILITIES PROGRAM
WHICH UNTIL MAYBE AROUND 2018
WAS MOSTLY USED TO SUPPORT
SHOVEL READY CAPITAL PROJECTS.
SO AS IT SOUNDS, AN
ORGANIZATION, NONPROFIT HAS
DONE ALL OF THE WORK, THE
FEASIBILITY STUDIES, YOU KNOW,
BEGUN TO STACK THE CASH AND ARE
READY TO START THE CONSTRUCTION
OF THE PROJECT WITHIN THE NEXT
YEAR OR TWO. THAT IS A PROGRAM
WE HAVE RUN FOR A WHILE. WE DID
REALIZE THERE WERE DISPARTS IN
THE WAY THE FUNDING WAS BEING
ALLOCATED. IT WAS A LOT OF
SIMILAR ORGANIZATIONS WE HAD
COMING BACK. IT WAS AN EVERY
OTHER YEAR PROGRAM. SO WE
STARTED TO JUST INTERROGATE
THAT WITH HELP FROM THE KING
COUNTY COUNCIL. THROUGH
FUNDING, WE WERE ABLE TO START
A PROGRAM CALLED BUILDING FOR
EQUITY. THE POINT OF THE
PROGRAM WAS TOLIC AT THE
DISPARITIES WITHIN OUR
FACILITY'S FUNDING AND TRY TO
CREATE A PROGRAM THAT WOULD
ALLOW US TO GET FUNDS TO MORE
DIVERSE APPLICANTS.
ORGANIZATIONS THAT WERE LED BY
PEOPLE OF COLOR AND OTHER
GROUPS THAT HAVE HISTORICALLY
NOT HAD ACCESS TO THE FUNDS.
ONE OF THE REASONS WE REALIZED
THAT MY COLLEAGUE AT THE TIME
HELPED US PUT INTO WORDS, WE
WERE NOT GETTING FUNDING TO A
MORE DIVERSE GROUP WAS THAT THE
REQUIREMENT WAS THAT THE
PROJECT BE READY TO START,
SHOVEL READY WITHIN A SHORT
PERIOD OF TIME. IS THERE WAS AN
OPPORTUNITY TO PROVIDE CAPACITY
BUILDING FOR GROUPS THAT MAYBE
HAVE FACILITY ACQUISITION OR
BUILDING AS AN IDEA. IT IS
SOMETHING THAT THE COMMUNITY
WOULD LIKE BUT THEY ARE NOT
WILLING TO GET TO POINT A TO
POINT B. WE STARTED LOOKING AT
DIFFERENT WAYS THAT COMMUNITIES
NEED FUNDING TO HELP THEM GET
TO THE POINT WHERE THEY CAN
START A CAPITAL PROJECT. AND
BUILD FUNDING AROUND THE
DIFFERENT NEEDS. THAT IS OUR
BUILDING FOR EQUITY PROGRAM IN
SUMMARY.
>> THAT'S RIGHT GREAT. WE DO A
SIMILAR THING AT THE CITY FOR
MIXED USE BUILDINGS. IN
COMMUNITIES OF COLOR,
NEIGHBORHOOD BASED
ORGANIZATIONS THAT ARE LOOKING
TO BUILD FOR EXAMPLE SENIOR
HOUSING FOR THEIR COMMUNITIES,
THE ETHIOPIAN COMMUNITY FOR
EXAMPLE. BUT THEY DON'T
NECESSARILY -- THEY ARE NOT
DEVELOPERS. THEY DON'T HAVE THE
EXPERIENCE AND THE CAPACITY AND
THE TECHNICAL EXPERTISE BUT
THEY STILL WANT TO DO THIS
PROJECT. SO THAT'S WHY WE HAVE
NOW THE EQUITABLE DEVELOPMENT
INITIATIVE IN THE CITY TO ALLOW
FOR PREDEVELOPMENT FUNDING,
CAPACITY BUILDING FUNDING TO
HELP THEM GET TO THE STAGE
WHERE THEY CAN ACQUIRE AND HELP
DESIGN AND AT LEAST LEAD A
PROJECT LIKE THAT. I THINK IT
IS SO IMPORTANT TO THINK ABOUT
COMMUNITY LED, COMMUNITY DRIVEN
PROJECTS IN THIS WAY. VERY
OFTEN IT MEANS THAT WE NEED TO
BACK UP AND MAKE SURE THAT THEY
HAVE THE CAPACITY TO GET TO
WHERE THEY WANT TO GO SO THEY
CAN SERVE THEIR COMMUNITY
BETTER.
>> THAT'S GREAT. I WANT TO TALK
A LITTLE BIT ABOUT -- SO THE
ISSUES OF HOUSING, CULTURAL
SPACE, EVEN CAREER
OPPORTUNITIES, ALL OF THESE
THINGS INTERSECT. THESE ARE
ISSUES THAT THE COMP PLAN
ADDRESSES AS WE WILL CONTINUE
TO DISCUSS HERE. AND, LOTS OF
CITIES WE KNOW ARE KIND OF
RELYING ON THE ARTS AND CULTURE
SECTOR TO SUPPORT DOWNTOWN
RECOVERY EFFORTS. THAT IS
CERTAINLY TRUE HERE IN SEATTLE,
ESPECIALLY AFTER THE PANDEMIC.
WE HAD LOTS OF DOWNTOWNS
EMTYING OUT BECAUSE WE KNOW
THAT SO MANY OF OUR CITIES HAVE
SORT OF BIG CULTURAL
INSTITUTIONS DOWNTOWN. AND WE
KNOW THAT WITH THE PANDEMIC,
ATTENDANCE IS WAY DOWN. SO I
WANT TO TALK A LITTLE BIT ABOUT
HOW WE SHOULD BE SUPPORTING THE
SECTOR IF YOU HAVE IDEAS. IT
SOUNDS LIKE ALL OF YOU DO FOR
INVESTMENT, POLICY SUPPORT.
THAT'S A BROAD QUESTION, I
KNOW. BUT I WANT TO TEASE THAT
OUT A LITTLE TO SEE AS WE ARE
THINKING ABOUT HOW WE SUPPORT A
DOWNTOWN RECOVERY AND MAKE SURE
THAT OUR DOWNTOWN ARTS SECTOR
CAN BOUNCE BACK, AND THEN I
ALSO WANT TO TALK ABOUT WHAT
DOES IT MEAN FOR NEIGHBORHOODS?
IT IS EQUALLY IMPORTANT THAT
OUR NEIGHBORHOODS HAVE THRIVING
CULTURAL SPACE AND ACTIVITY AND
THAT'S WHERE A LOT OF THE
CREATIVE LIVES OUT IN THE
NEIGHBORHOOD, NOT DOWNTOWN. SO
THAT'S A BIG QUESTION BUT I
WONDER IF ANYONE WANTS TO DIVE
INTO THAT?
>> YEAH, IN SAN FRANCISCO, WE
ARE SEEING DATA THAT IS SHOWING
TRAFFIC GOING MORE INTO THE
NEIGHBORHOODS NOW THAN
DOWNTOWN. SO WE HAVE TO REALLY
REIMAGINE DOWNTOWN. IT IS A NEW
WORLD AFTER COVID. A LOT OF
PEOPLE ARE WORKING AT HOME. A
LOT OF PEOPLE ARE EATING AT
THEIR NEIGHBORHOODS. THEY ARE
GOING TO THE RESTAURANTS. I
THINK THAT ONE OF THE THINGS
THAT WOULD REALLY HELP THE
AREAS IS TO HAVE THEM PARTNER
WITH THE DIFFERENT
NEIGHBORHOODS IN THE CITY . YOU
KNOW, PULL FROM THOSE EXAMPLES
OF THE NEIGHBORHOOD AND WHAT
THEY ARE DOING IN THE
NEIGHBORHOODS TO TRY TO DO IT
DOWNTOWN. USING THAT HISTORY,
TALKING TO THE ARTISTS, YOU
KNOW, TO BRAINSTORM AND SEE
WHAT THEY CAN COME UP TO
REVITALIZE DOWNTOWN. THAT WILL
START GETTING -- IT WILL BE A
DIFFERENT -- IT WILL BE
CENTERED DIFFERENTLY THAN THE
WAY WE HAVE SEEN DOWNTOWN IN
THE PAST.
>> I THINK THAT'S REALLY -- I'M
BUILDING OFF OF WHAT ERICK IS
SAYING. WE HAVE SEVEN CULTURAL
DISTRICTS IN SEATTLE. WE HAVE A
DOWNTOWN THAT IS DESPERATELY IN
NEED OF MORE ACTIVITY, MORE
SPACE UTILIZATION, MORE
FESTIVALS, MORE BLOCK PARTIES.
WHAT IF WE THOUGHT OF OUR CITY
AS A CIRCURALATORY SYSTEM. THE
ONE THING THEY HAVE IS THAT
EVERY MODE OF TRANSPORTATION
GOES THERE. YOU CAN GET
DOWNTOWN FROM ANY NEIGHBORHOOD
IN THE CITY, FROM ANY OF THE
CULTURAL DISTRICTS AND ANYWHERE
IN KING COUNTY, REALLY. IF WE
WANTED TO, WE COULD INCENTVISE
THOSE DISTRICTS TO BRING
PROGRAMMING DOWNTOWN. THAT
COULD LOOK LIKE FESTIVALS AND
BLOCK PARTIES. I THINK THE
WELCOME BACK CONCERTS IN THE
SUMMER OF 2021 WERE A REALLY
INSPIRING EXAMPLE OF THAT. YOU
SEE 1,000 PEOPLE COME TO SEE
DIGABLE PLANETS AT WEST LAKE
CENTER AND THEN EVERY
RESTAURANT AND STORE IS FULL OF
HUMAN BEINGS BEFORE AND AFTER.
THOSE ARE PROMISING MODELS THAT
COULD BE EXPLORED FOR FURTHER
IMPLEMENTATION. I THINK WHAT IS
GOING TO BE REALLY INTERESTING
IS THAT WE HAVE ALL OF THIS
OFFICE SPACE DOWNTOWN. AND THE
REALITY IS EVERYONE IS NOT
COMING BACK TO WORK, NOT LIKE
THEY WERE. WE ARE IN A BRAVE
NEW WORLD. AS MUCH AS I HAVE AN
ALLERGY FROM THE REIMAGINATION
WORD, I AGREE WITH ERICK. WE
HAVE TO REIMAGINE DOWNTOWN. IT
IS NOT GOING TO BE ACTIVATED BY
THOUSANDS OF PEOPLE COMING TO
THE OFFICE EVERY DAY. PEOPLE
WILL STILL COME TO THE OFFICE
BUT WHAT ARE THE OTHER REASONS
PEOPLE COME DOWNTOWN? IT IS
WHERE WE HAVE A LOT OF CULTURAL
INSTITUTIONS. WE ARE BUILDING
ONE OF THE FUANOMNOMPLE AL
PARKS IN THE WORLD. AND THEN
THEY WILL SHOP AND EAT AT THE
RESTAURANTS AND THEY WILL
PARTICIPATE IN THEIR CITY. BUT
I HAVE ALSO SEEN A RETURN TO
NEIGHBORHOODS. I'M PROUD
DISTRICT TWO FOR LIFE. AND WHAT
I SAW IN THE NEIGHBORHOOD WAS
PHENOMENAL DURING THE PANDEMIC.
IT IS NOW KNOWN AS WE THE
PEOPLE PLAZA. A LOCAL ARTIST
ENTREPRENEUR, CHEF TARP
ABDULLAH STARTED DOING A MURAL
THAT SAID WE THE PEOPLE. BY THE
END OF THAT SUMMER, 2020, DEEP
COVID TIMES WHEN NO ONE CAN DO
ANYTHING. THIS ENTIRE BUILDING,
100 PLUS ARTISTS PARTICIPATED
IN THE MURAL THAT WRAPPED THE
BUILDING. AND THEN THERE WERE
POP UP MARKETS AND THEN MOVIE
NIGHTS. IT WAS REALLY, WE HAD
TO STAY IN OUR NEIGHBORHOOD
BECAUSE WE WEREN'T SUPPOSED TO
GO ANYWHERE ELSE BUT I REALLY
SAW CULTURE AS THE LIFE LINE
AND THROUGH LINE OF HOW WE HELD
IT TOGETHER IN THE HARDEST OF
TIMES. I THINK WE CAN BRING
THAT SPIRIT FROM OUR
NEIGHBORHOODS TO OUR DOWNTOWN
IF WE WANT TO.
>> RIGHT. AND THE CULTURAL
DISTRICTS TOO, WE HAVE THE
LARGEST NUMBER OF CULTURAL
EVENTS IN THE CITY. IT REALLY
GENERATES REVENUE. IT BRINGS
ABILITY TO THE BUSINESSES. THEY
WILL COME FOR THE EVENT. THEY
WILL EXPLORE THE BUSINESS IN
THE AREA. AND THEY WILL COME
BACK IN THE FUTURE. IF THEY
FIND A RESTAURANT THEY LIKE,
THEY WILL TAKE MORE TIME TO
LOOK INTO IT. IT GENERATES JOBS
AND BRINGS PEOPLE IN. IT KIND
OF GETS THE ECONOMY MOVING. IF
THOSE EVENTS ARE CREATED MORE
IN DOWNTOWN, THEN IT JUST
BRINGS THOSE PEOPLE IN THERE.
>> ERIC, CAN YOU TALK A LITTLE
BIT ABOUT HOW PARTNERSHIPS CAN
BE STRUCTURED TO MAKE SURE
UNDERRESOURCED NEIGHBORHOODS
HAVE A SAY IN PLANNING AND
DEVELOPMENT OF THESE CULTURAL
FACILITIES? AND HOW DO THE --
WHAT IS THE RELATIONSHIP WITH
LOCAL GOVERNMENT OR NONPROFITS
OR WITH THE PHILANTHROPY, HOW
DO THOSE PARTNERSHIPS GET BUILT
UP?
>> I THINK THAT HAS TO BE
REIMAGINED ALSO. I THINK
GOVERNMENT TENDS TO HAVE IDEAS
THAT THEY WILL BRING TO THE
COMMUNITY AND GET INPUT. BUT I
THINK WE HAVE TO ACTUALLY START
WITH THE COMMUNITY. LET THE
COMMUNITY IN THE PROCESS, TO BE
ABLE TO REIMAGINE THINGS. WE
ARE REALLY PUSHING THAT HERE IN
SAN FRANCISCO, ESPECIALLY WHEN
WE TALK ABOUT EQUITY. SO MAKING
SURE THAT THOSE VOICES ARE PUT
IN THE FOREFRONT. IN THOSE
PARTNERSHIPS, A PROCESS HAS TO
BE CHANGED. AGAIN, WE ARE IN A
NEW WORLD. WE HAVE TO MAKE SURE
THAT THOSE PROCESSES CHANGE IN
THAT WAY TO FOCUS ON THE
COMMUNITY AND BEING LED BY
COMMUNITY AND CENTERED IN RACE
EQUITY. SO THOSE PARTNERSHIPS,
THE STRUCTURE ITSELF WOULD HAVE
TO CHANGE.
>>.
>> YEAH, YOU ARE TALKING TO A
CITY COUNCIL MEMBER. I TOTALLY
GET IT. THAT IS A BIG PART OF
HOW MY OFFICE OPERATES. WE TRY
TO BRING THE VOICE OF COMMUNITY
INTO CITY HALL, BRING IDEAS AND
THE BRILLIANCE THAT COMES FROM
FOLKS WHO ARE CLOSEST TO THE
THINGS THAT THEY ARE TRYING TO
ADDRESS. AND YOU KNOW, IT IS
MAYBE WITHIN OUR NATURE TO
THINK THERE IS A POLICY
SOLUTION TO SOMETHING AND WHAT
I HEAR YOU SAYING IS THAT'S NOT
ALWAYS THE ANSWER.
>> CORRECT. YOU HAVE TO BRING
PEOPLE IN AT THE VERY
BEGINNING, BEFORE THINGS ARE
THOUGHT UP. HAVE IT COME FROM
THERE.
>> YEAH.
>> I HAD A THOUGHT TO THAT. IS
IT OKAY FOR JUMPING IN?
>> PLEASE.
>> THANK YOU FOR THAT IDEA AND
THINKING OF THE DIFFERENT WAYS
-- I FEEL WHEN I HEAR ABOUT THE
CONVERSATIONS WITH COMP PLAN,
IT'S COMMUNITY ENGAGEMENT.
THERE IS A PLAN FOR THE
COMMUNITY ENGAGEMENT WHICH IS
HOW CITIZENS ARE SUPPOSED TO BE
GIVING THEIR FEEDBACK. BUT IT
MADE ME THINK ABOUT THE ARTS
SECTOR, RIGHT? AND THE WAY WE
ENGAGE WITH PEOPLE, THE WAY OUR
CREATIVES THINK. IF THERE IS A
POSSIBILITY OF LIKE HAVING
ALMOST LIKE AN ART PLAN FOR THE
COMMUNITY ENGAGEMENTMENT PART
OF COMPREHENSIVE PLANNING, WHEN
WE HAVE ARTIST PLANNERS AND NOT
JUST FOR THE ARTS AND CULTURE
SECTION OF THE PLAN, BUT FOR
THE WHOLE PLAN. AND KIND OF
HELPING TO COME UP WITH
DIFFERENT WAYS TO FORGE
PARTNERSHIPS AND GET THAT
FEEDBACK THAT IS FROM THE
BEGINNING AND GOES THROUGHOUT
THE PROCESS. THIS IS A
MULTIYEAR PROCESS.
>> YES.
>> SO SOME WAY OF USING THE
PRACTICE FROM THE CULTURAL
SECTOR WITHIN THE PLANNING
PROCESS. THAT WOULD BE COOL.
>> THERE IS A GREAT EXAMPLE OF
THAT IN ST. PAUL MINNESOTA.
THEY HAVE AN ARTISAN RESIDENCE
IN THE PLANNING DEPARTMENT. IT
IS NOT TO PAINT IN THE STUDIO.
AMANDA LOVELY IS THE ARTIST I
HAVE WORKED WITH OVER THE LAST
COUPLE OF YOURS CREATED A POP
KKAL CHALK. AND THEN SHE WOULD
USE THAT AS INCENTIVES FOR
FAMILIES TO ENGAGE IN A
CONVERSATION ABOUT PLANNING IN
THE CITY AND ENGAGED HUNDREDS
OF PEOPLE WHO HAD NEVER BEEN
PART OF THE CITY PLANNING
CONVERSATION BEFORE. I THINK
ONE OF THE PROBLEMS WITH THE
WAY WE DO PLANNING IS THE FOLKS
THAT KNOW HOW TO GO TO
NEIGHBORHOOD MEETINGS GO TO
NEIGHBORHOOD MEETINGS. THE
FOLKS WHO ARE REPRESENTED IN
THE CITY'S OUT REACH ARE THE
FOLKS WHO KNOW HOW TO ENGAGE.
IT IS NOT THE UNDERREPRESENTED
FOLKS, IT IS NOT THOSE WHO HAVE
TO STITCH TOGETHER TEN SIDE
HUSTLES. IT IS THE PEOPLE WHO
HAVE IT ON THEIR CALENDAR TO
SAY WHATEVER THEY WANT TO TALK
ABOUT. IF YOU WANT TO MAKE ROOM
FOR MORE VOICES, YOU HAVE TO
FIND INNOVATIVE WAYS TO ENGAGE
THEM. AND TO CHIEKO'S POINT,
THAT'S WHAT ARTISTS DO EVERY
DAY. THAT'S HOW THEY ARE WIRED.
THAT IS AN INVESTMENT OF ONE
PART-TIME POSITION IN A
DEPARTMENT THAT IS RESPONSIBLE
FOR CHARTING THE COURSE FOR THE
CITY FOR THE NEXT 10 OR 20
YEARS. I THINK THAT IS TOTALLY
FASCINATING.
>> I LOVE THAT IDEA. AS WE
LAUNCHED INTO THE SERIES, PART
OF THE CATALYST FOR ME WAS
READING MY PLANNING MAGAZINE
WHERE I LEARNED THAT IN OTHER
CITIES, I DON'T THINK IT IS AN
ARTIST BUT THEY DID THIS SORT
OF -- THERE WAS A HUGE PRIORITY
ON MAKING SURE THEY ENGAGED
YOUNG PEOPLE, LIKE ELEMENTARY
AND HIGH SCHOOL STUDENTS. SO
THEY CREATED GAMES. THEY TOOK
LIFE SIZED BOARD GAMES OUT TO
DIFFERENT NEIGHBORHOODS, PARKS,
TO PLAY FIELDS, AND ENGAGED
PEOPLE IN THAT WAY, NOT SITTING
AROUND A TABLE WITH CHARTS AND
GRAPHS BUT WITH REAL-LIFE OR
LIFE SIZED -- WHAT'S THE WORD
I'M LOOKING FOR? YOU KNOW, LIFE
SIZED CUSHIONS AND TOYS, AND
STYROFOAM TOWERS SO PEOPLE
COULD REALLY AUTHENTICALLY
ENGAGE AND UNDERSTAND THE
CONCEPTS THAT PEOPLE ARE
TALKING ABOUT. SO THIS WAS MY
ANSWER DOING A STREAMING, YOU
KNOW, WE ARE WORKING ON IT. I
REALLY THINK WHAT YOU ARE
SAYING IS IMPORTANT. IF WE WANT
PEOPLE WHO DON'T HAVE TIME TO
COME TO A BUNCH OF COMMUNITY
MEETINGS BUT WILL BENEFIT OR
NOT BENEFIT FROM THE DECISIONS
THAT ARE BEING MADE ON BEHALF
OF THE ENTIRE CITY, THAN IT IS
REALLY IMPORTANT THAT WE FIND
NEW WAYS TO ENGAGE WITH THEM
AND MAKE SURE THAT THEIR IDEAS
GET HEARD.
>> YES. WE HAD A GENTLEMAN IN
SAN FRANCISCO WHO CREATED THESE
DIFFERENT BLOCKS. HE WILL
GATHER THE COMMUNITY TO SIT
AROUND AND BUILD A LITTLE TOWN.
HE WILL BRING IN LITTLE TREES
AND CARS AND PLASTIC PEOPLE. IT
WAS JUST AN EXERCISE FOR THE
COMMUNITY TO START THE
CONVERSATION, WHAT DOES IT LOOK
LIKE TO YOU KIND OF THING. BUT
WE ARE TALKING ABOUT --.
>> CHIEKO, I WANT TO GET BACK
TO A POINT YOU ARE MAKING. I
KIND OF HAVE THIS QUESTION BUT
I'M STRUGGLING WITH AM I ASKING
WHAT I THINK I'M ASKING. BUT I
WANT TO KNOW WHAT ROLE ART AND
CULTURAL EVENTS CAN PLAY IN
FOSTERING COMMUNITY? I THINK WE
ALL UNDERSTAND THAT THAT
ACTUALLY HAPPENS AND IS KEY.
BUT I'M TRYING TO UNDERSTAND
HOW ALL OF THAT GETS INTEGRATED
INTO OUR CITIES URBAN DESIGN
AND PLANNING PROCESS. I THINK
THERE NEEDS TO BE AN
INTENTIONALITY AND I THINK THAT
IS WHAT WE ARE TALK ABOUT, FOR
THE ROLE OF ART IN COMMUNITY
BUILDING AND THAT NEEDS TO
HAPPEN THROUGHOUT A PLANNING
PROCESS. WHETHER IT IS AN
ARTIST IN RESIDENCE OR SOME
OTHER MECHANISM I WILL STOP
THERE BECAUSE I FEEL LIKE I'M
RAMBLING. BUT I HOPE YOU CAN
HELP ME ANSWER THIS AND THINK
THROUGH IT.
>> YEAH, MAYBE. I'LL TAKE A
STAB. SO ARTS AND CULTURE, WHAT
ROLE DOES ARTS AND CULTURE PLAY
IN FOSTERING COMMUNITY, I THINK
IT LOOKS DIFFERENT IN EVERY
NEIGHBORHOOD OF COMMUNITY, LIKE
WHAT EXACTLY THAT ARTS AND
CULTURE IS. IT MAY BE SOMETHING
LIKE FILM FESTIVAL, SOME PLACE,
I'M THINKING OF IT COULD BE A
GIANT GATHERING THAT HAPPENS IN
THE MIDDLE OF THE STREET AND IT
IS FOOD AND PEOPLE COMING AND
GATHERING. AND THERE IS NOT A
PLAY OR A MUSEUM EXHIBIT BUT
THAT IS WHAT CULTURE IS AND
THAT IS WHAT BRINGS PEOPLE
TOGETHER IN THAT NEIGHBORHOOD.
SO I THINK GOING BACK TO
LISTENING TO THE PEOPLE IN THE
AREAS AND UNDERSTANDING WHAT
CULTURE MEANS TO THEM AND HOW
IT IS EXPRESSED. AND THEN
CODIFYING THE BROADER
DEFINITIONS. THAT ALLOWS FOR
POLICIES TO BE MADE AND THE
ZONING DECISIONS AND EVERYTHING
THAT COMES FROM A COMPREHENSIVE
PLAN TO FALL UNDER THAT
DEFINITION OF CULTURE AND ARTS
AND COMMUNITY THAT HAS BEEN
DEFINED BY THE PLACES THAT YOU
ARE TRYING TO SUPPORT. THE
HERITAGE SECTOR, I'M TRAINED IN
MUSEUMS, SO I CAME IN STRONG
WITH HISTORY, HERITAGE, IT
HAPPENS IN MUSEUMS BUT THAT IS
NOT THE ONLY PLACE IT HAPPENS.
SO MY SIX YEARS AT 4 CULTURE
HAS BEEN A LOT OF LEARNING FROM
THE PEOPLE THAT APPLY TO US AND
REACH OUT TO US FOR HELP. HOW
DO YOU ACTUALLY EXPRESS YOUR
HERITAGE? HOW DO YOU PRESERVE
YOUR HERITAGE? IT IS A SMALL
PERCENTAGE THAT HAPPENS IN THE
PHYSICAL BUILDINGS AND THE EURO
CENTRIC COLLECTIONS. A LOT OF
THEM HAPPEN IN KITCHENS, DANCE
STUDIOS, IN THE STREETS, THOSE
TYPES OF SPACES, PERFORMANCE
SPACES, COMMUNITY KITCHEN
SPACES, THOSE NEED TO BE
PRESERVED AND THOUGHT OF AS THE
PLACES WHERE CULTURE HAPPENS.
SO MY VIEW OF WHAT IS CULTURAL
SPACE HAS REALLY BROADENED
BECAUSE OF LISTENING TO THE
CONSTITUENTS THAT REACH OUT TO
4 CULTURE FOR HELP.
>> I'M NOW THINKING THAT MY
DAUGHTER'S STUDIO NEEDS A
LITTLE SUPPORT TO BE PRESERVED.
ERICK, DID YOU WANT TO ADD
SOMETHING TO THAT?
>> YEAH, ONE EXERCISE THAT WE
DID IN COMMUNITY WAS FIRST TO
DEFINE CULTURE AND WHAT OUR
CULTURE ASSETS ARE, RIGHT? SO
WE CAN HAVE A GOOD
UNDERSTANDING OF WHAT IT IS. IT
INCLUDES PEOPLE, BUSINESSES,
EVENTS, EVEN TREES. BUT ONE
THING THAT WE DID THAT WAS VERY
INTENTIONAL, WE CREATED THE
ARCHITECTURAL DESIGNS WHICH
GIVES GUIDANCE FOR A NEW
BUSINESS OR STORE FRONT
IMPROVEMENTS. IT TALKS ABOUT
THE CULTURAL BUILT IN
ENVIRONMENT. IT IS IMPORTANT TO
ELEMENTS OF THE CULTURE OF THE
NEIGHBORHOOD INCORPORATED INTO
THE DESIGN, WHETHER IT IS
THROUGH A MURAL, TOWN MOSAIC,
BENCH, OR WALL, OR JUST THE
COLOR, YOU KNOW THAT TIES INTO
THE COMMUNITY, RIGHT? SO IT IS
VERY INTENTIONAL, VERY SPECIFIC
ON WHAT THAT DESIGN WILL LOOK
LIKE. IF A NEW BUSINESS COMES
IN, THEY FOLLOW THE GUIDELINES
AND IT ALSO TELLS THEM, MAKE IT
MORE WARMER. IF THERE IS TOO
MUCH GLASS, MAYBE DO A DESIGN
ON THE GLASS. YOU CAN GLAZE THE
GLASS, INCLUDE ART IN IT,
RIGHT? TO INCORPORATE AND GET
IT INTO THE NEIGHBORHOOD. SO
THOSE THINGS, RIGHT? SO IT WAS
VERY INTENTIONAL WHAT WE DID TO
INCORPORATE THE ARTS, CULTURE
AND PLANNING.
>> I TOTALLY AGREE AND WOULDN'T
IT BE GREAT IF WE DID OTHER
THINGS BESIDES GLASS, STEEL,
AND CONCRETE. BUT I THINK THE
GREATEST ASSET CULTURE CAN PLAN
TO PLANNING, CULTURE IS AN
ENABLING STRATEGY. THIS SPOKE
SO CLEAR TO ME IN COVID. IT IS
THE WAY WE WILL ACCOMPLISH ALL
OF THE OTHER THINGS THAT ARE
IMPORTANT. HOW WILL YOU KEEP
KIDS IN SCHOOL? HOW WILL YOU
MAKE YOUR NEIGHBORHOOD FEEL
ACTIVE, SAFE, AND ALIVE? YOU
WILL USE CULTURE, ART, MURALS.
YOU WILL USE THE AUTHENTIC
EXPRESSION OF A PLACE. I THINK
THE POINT IS WELL TAKEN. EVERY
PLACE IS DIFFERENT. SO DON'T
BRING A C.I.D. AESTHETIC TO A
TOTALLY DIFFERENT NEIGHBORHOOD
THAT DOESN'T WANT IT. AND DON'T
BRING THAT AESTHETIC TO THE
C.I.D. THEY KNOW WHO THEY ARE
AND WHAT THEY WANT. I THINK
CREATING SPACE FOR THE CULTURAL
EXPRESSION IN A COMMUNITY CAN
BE STRATEGIC IN ACCOMPLISHING
LARGER PLANNING GOALS. THE
OTHER THING THAT CULLKER CAN DO
IS IT CAN MAKE IT COMPELLING.
WHAT CREATES BUY IN? HOW MANY
CITY PLANNING MEETINGS DO YOU
WANT TO GO TO? I'M A POLICY
NERD SO I LOVE POLICY MEETINGS
BUT MOST PEOPLE DON'T. HOW DO
YOU TAKE SOMETHING THAT IS
FUNCTIONAL AND MAKE IT
COMPELLING? I THINK THE
NEIGHBORHOODS CAN MAKE THE PLAN
COMPELLING AND THAT CAUSES BUY
IN. THEY ARE MORE LIKELY TO
SUPPORT THE IMPLEMENTATION OF
THE PLAN. I THINK IF WE ARE
GOING THROUGH A THOUGHT
EXERCISE ABOUT A THEORETICAL
PLANNING OF SOMETHING, WHY IS
SOMEONE GOING TO BUY INTO THAT?
AND I'M NOT SUGGESTING -- I
THINK THERE ARE A LOT OF REALLY
WONDERFUL PEOPLE IN SEATTLE
ACROSS ALL OF THE DEPARTMENTS
THAT HAVE THOUGHTFUL MEANINGFUL
ENGAGEMENTS. I'M NOT BEATING UP
ON THE BUREAUCRACY. I THINK THE
INTEGRATION OF COMMUNITY AND
CULTURE IN THAT WILL MAKE IT
BETTER. AND I THINK ARTS AS THE
HOW VERSUS ART AS THE WHAT IS A
WAY FORWARD IN PLANNING THE
CITY.
>> DID YOU WANT TO SAY
SOMETHING ERICK?
>> NO, I JUST WANT TO AGREE
WITH WHAT RANDY IS SAYING. I
THINK THAT IS EXTREMELY
IMPORTANT. WE CREATE THE DESIGN
GUIDELINES, IT TAKES A
COMMUNITY. THAT'S WHERE WE
START IT. AGAIN, IT STARTS WITH
THE COMMUNITY.
>> WELL, SO I GET WHAT YOU ARE
SAYING ABOUT ARTS IS THE HOW,
NOT THE WHAT. AND PART OF WHAT
I ALSO WANT TO HAVE A
DISCUSSION ABOUT IS HOW WE
INVEST IN ARTS SO THAT WE CAN
CREATE JOBS, SO WE CAN
STIMULATE THE SECTOR EVEN MORE.
IT IS ONE OF THE LARGEST
SECTORS IN THE CITY OF SEATTLE
. SO I WOULD LOVE TOHEAR ABOUT
THE INVESTMENTS YOU THINK
CITIES SHOULD BE MAKING TO
SUPPORT THE SECTOR, TO SUPPORT
INDIVIDUALS AND TO REALLY BRING
THAT VIBRANCY TO ENSURE WE
DON'T LOSE THE VIBRANCY THAT
THE ART SECTOR CAN CREATE. I
WILL LEAVE THAT THERE AND THEN
MAYBE I WILL HAVE A FOLLOW UP.
>> TWO EXAMPLES, I WILL
SHOUTOUT ERICK'S STATE IN
CALIFORNIA BECAUSE I HAVE BEEN
FORTUNATE TO WORK WITH A NUMBER
OF ORGANIZATIONS IN L.A. AND
THE BAY AREA. THE STATE
LEGISLATURE IN CALIFORNIA
ALLOCATED $50 MILLION TO
CULTURAL DISTRICTS THROUGHOUT
THE STATE. THEY MEANINGFULLY
INVESTED IN THE DISTRICTS
THEMSELVES WHICH I WOULD LOVE
TO HEAR IF THAT WORKED OR NOT.
THERE ARE ALWAYS WELL INTENDED
RESOURCES. THAT IS A MEANINGFUL
INVESTMENT THAT CAN BE
TRANSFORMATIVE. WE HAVE A
PROGRAM IN SEATTLE CALLED HOPE
CORE THAT STARTED JUST BEFORE I
LEFT THE CITY. THE CALIFORNIA
VERSION OF THAT, THE CALIFORNIA
CREATIVE FORUM WHICH WE
ESTABLISHED, THE STATE
LEGISLATURE INVESTED $50
MILLION. HIRING ARTISTS TO
TACKING COMPLEX SOCIAL PROBLEMS
TO HELP RECOVER FROM THE
PANDEMIC. THERE ARE TWO THINGS
YOU CAN RESOURCE THAT WE
ALREADY HAVE THE POLICY
MECHANISMS FOR IN SEATTLE THAT
ARE BEING DONE TWO STATES TO
OUR SOUTH THAT COULD BE SUPER
IMPACTFUL, I THINK.
>> YES, CALLE 24 CULTURAL
DISTRICT IS TWO OF THE
DESIGNATED STATE CULTURE
DISTRICTS. WE DID ALLOCATE
$675,000 FOR EACH DISTRICT SO
WE ARE WRITING A PROPOSAL FOR
THE FUNDS AND WE ARE LOOKING AT
DOING SOME ARCHES INTO THE
ENTRANCE OF THE LATINO CULTURAL
DISTRICT. AND WE WILL CALL IT
THE ARCH OF RESISTANCE AND SOME
LANDMARKING WE ARE LOOKING AT
TO DO WITH THE MONEY. WHAT WE
HAVE SEEN IN THE PAST THAT
HELPED THE ARTISTS IS SMALL
GRANTS, INDIVIDUAL GRANTS FOR
ARTISTS. AND ALSO GRANTS FOR
THE ARTS ORGANIZATIONS TO
PRODUCE EVENTS, TO PRODUCE
MURALS, TO CREATE EVENTS. THAT
IS REALLY HELPFUL. THAT IS
WHERE THERE ARE ALWAYS
CHALLENGES, THE FUNDS, TO BE
ABLE TO DO THE STUFF. AND ALSO
TO GET CREATIVE IN THESE PIECES
THAT ARE PUT OUT. A WHILE BACK,
WE DID A STORE FRONT, EMPTY
STORE FRONT ART PROGRAM. SO WE
SPOKE TO OWNERS AND CREATED
ARTWORK IN THE WINDOW TO
ACTIVATE THE SPACE. TIED TO THE
BUSINESSES, TIED TO
BEAUTIFICATION, AND CREATING
MORE OF A GALLERY SCENE DURING
THE DAY. ONE TIME WE DID
ANOTHER PROJECT THAT WAS CALLED
THE NIGHT GALLERY. IN SAN
FRANCISCO, WE HAVE ALL OF THESE
ROLL DOWNS AND THEY GET FULL OF
GRAFFITI AT NIGHT. WE GOT FUNDS
AND EACH STORE WAS ABLE TO
DESIGN A MURAL ON THE ROLL
DOWNS THAT REFLECTED THE
BUSINESS AND THE COMMUNITY TOO.
THOSE ARE SOME EXAMPLES THAT WE
HAVE DONE TO USE FUNDS TO
ACTIVATE, PROVIDE JOBS WHICH
GIVES TO THE ECONOMY.
>> THAT'S GREAT. AND THAT IDEA
OF PUBLIC ART BEING
INCORPORATED INTO THE SPACES,
THE DESIGN OF PUBLIC SPACES
FROM THE BEGINNING IS ALSO
REALLY IMPORTANT. HOW WE
BEAUTIFY THE PUBLIC REALM IS
SOMETHING THAT WE ALL BENEFIT
FROM AND IN SO MANY DIFFERENT
WAYS, ESPECIALLY AS WE ARE
NAVIGATING OUR WAY THROUGH
COMMUNITY, TO SEE SOMETHING
LIKE THE MURALS YOU ARE TALK
ABOUT OR THE SCULPTTURES.
>> AND BEING VERY STRATEGIC
THAT IT DOES INCLUDE EVERYONE
ELSE IN THE NEIGHBORHOOD, THE
SMALL BUSINESSES, YOU KNOW, THE
SERVICE PROVIDERS, CULTURAL
DISTRICTS. SOMETIMES WE WILL
TEND TO DO SCULPTURES IN THE
STREETS WHICH DOES HELP . YOU
KNOW PEOPLE COME INTO THE
NEIGHBORHOOD TOLIC AT WHAT WE
ARE CREATING BUT ALSO TYING
INTO THE BUSINESSES. IF WE
REALLY WANT TO ACTIVATE THE
ECONOMY, JUST LOOKING AT IT
THAT WAY.
>> CAN YOU TALK A LITTLE BIT
MORE ABOUT THIS ERICK? BECAUSE
THAT IS PART OF WHAT WE ARE
CONCON TEMPILATING TOO. HOW DO
WE ATTRACT BUSINESSES AND
SUPPORT LOCAL BUSINESSES?
>> SOME OF THE EXAMPLES GAVE
LIKE CONNECTING EMPTY STORE
FRONTS WITH ARTISTS, TO CREATE
SOMETHING THERE. WE ALSO HAVE A
SPECIAL USE DISTRICT IN OUR
AREA THAT WHEN THERE IS A
CHANGE OF USE IN ANY OF THE
BUSINESSES, THEY HAVE TO MEET
FOUR OUT OF SIX CONDITIONS. THE
CONDITIONS ARE CREATED BY THE
COMMUNITY. THE CONDITIONS
INCLUDE THINGS LIKE HOW DOES
YOUR BUSINESS RELATE TO THE
CULTURE IN THE AREA. HOW DO YOU
CONNECT TO THE ARTS. IT GIVES
THEM THINGS THEY CAN CHOOSE
FROM TO IBT GREAT THEM INTO THE
COMMUNITY. A LOT OF IT IS FOR
THE ARTS AND ALSO WORKING WITH
OTHER BUSINESSES IN THE AREA TO
INSTEAD OF GOING OUT, THEY BUY
THE PRODUCE OUTSIDE OF THE
NEIGHBORHOOD AND BUY IT
WITHINCERN NEIGHBORHOODS AND
INCLUDES THE ECONOMIC
DEVELOPMENT. THE ART PIECE,
RICE, THEY SAY I CHOOSE THESE
FOUR, RIGHT, AND THEN WE GIVE
THEM IDEAS OF WHAT THEY CAN DO.
THEY WILL ALLOW, IF IT IS A
RESTAURANT, TO PLACE ART ON THE
WALLS AND THEN ROTATE IT,
RIGHT? AND THEN THEY WILL ALLOW
THAT ARTIST TO DO AN OPENING IN
THEIR RESTAURANT. SO IT IS
BRINGING PEOPLE INTO THE
RESTAURANT, YOU KNOW. IT GIVES
BUSINESS TO THE RESTAURANT. IT
IS PROMOTING THE ARTS. IT IS
PROMOTING THE ARTISTS, RIGHT.
WE INCLUDE THAT INTENTIONALLY
AND THROUGH THE SPECIAL USE
DISTRICT. ANY TIME THERE IS A
CHANGE OF USE IN THE BUSINESS.
AND IT HELPS INTEGRATE INTO THE
NEIGHBORHOOD TOO. DOES THAT
HELP?
>> YES, THAT IS GREAT, GREAT
IDEA. THIS IS WHAT WE ARE
TRYING TO DO IS UNDERSTAND WHAT
TOOLS WE HAVE AVAILABLE TO US
AND HOW THEY CAN SUPPORT
COMMUNITY MEMBERS AND ALL OF
THE DIFFERENT WORK THAT WE HAVE
TO DO AS A CITY AND AS A
NEIGHBORHOOD.
>> SURE. IT IS SOMETHING WE
HAVE BEEN WORKING ON.
>> I WANT TO TALK A LITTLE BIT
ABOUT THE WORKFORCE
DEVELOPMENT. SO I WONDER IF WE
COULD TALK A LITTLE BIT ABOUT
WHAT WORKFORCE STRATEGIES WE
CAN USE TO SUPPORT THE GROWTH
OF CREATIVE INDUSTRIES? I KNOW
RANDY, YOU AND I HAVE TALKED A
LOT ABOUT WHAT IT MEANS FOR
ENTREPRENEURSHIP, WHAT IT MEANS
FOR HELPING YOUNG PEOPLE MOVE
INTO OPPORTUNITIES THAT THEY
MAY NOT HAVE THOUGHT ABOUT
BEFORE. I WOULD LOVE TO HEAR
FROM EACH OF YOU IF YOU HAVE
IDEAS ABOUT WORKFORCE
DEVELOPMENT STRATEGIES.
>> I WILL OFFER A COUPLE OF
BEEN VERY FORTUNATE TO WORK ON
A PROJECT FOR THE LAST YEAR OR
SO, DEVELOPING A CREATIVE PLAN
FOR THE DEPARTMENT OF COMMERCE
IN THE STATE OF WASHINGTON. WE
JUST DID A PRETTY RIGOROUS
ECONOMIC POLICY ANALYSIS OF
WHAT ARE THE CONDITIONS NOW IN
OUR STATE. A COUPLE OF TOP LINE
TAKE AWAYS, THE CREATIVE
ECONOMY IN WASHINGTON GENERATED
$119 BILLION OF ECONOMIC IMPACT
LAST YEAR. THAT IS ALMOST 20%
OF THE ENTIRE ECONOMIC ACTIVITY
IN WASHINGTON WHICH IS LIKE
MUCH BIGGER THAN ARROW SPACE
AND MUCH BIGGER THAN
CONSTRUCTION AND AGRICULTURE.
THAT IS A HUGE NUMBER. AND 103
OF THE 119 IS THE MIDSOUND
REGION, SEATTLE, A LITTLE OF
PIERCE COUNTY AND A LITTLE OF
SNOHOMISH COUNTY. BETWEEN 2011
AND 2021, EMPLOYMENT IN THE
CREATIVE ECONOMY SECTOR GREW BY
50%. CREATIVE TECH WHICH IS
LIKE THE THING WE HAVE TO TALK
ABOUT, GREW BY 130%. THOSE ARE
SOME OF THE BEST JOBS BEING
CREATED IN THE ECONOMY TODAY
BUT OUR YOUNG PEOPLE WHO COME
UP THROUGH OUR PUBLIC SCHOOL
SYSTEM ARE NOT THE ONES GETTING
THOSE 130% OF THE NEW JOBS.
THOSE EMPLOYERS ARE HIRING
PEOPLE FROM ALL OVER THE WORLD
AND BRINGING THEM TO SEATTLE
WHICH IS GREAT EXCEPT THAT IT
CREATES DOWNWARD PRESSURE ON
THE HOUSING MARKET BECAUSE THE
PEOPLE HERE CAN'T GET THE JOBS.
WE HAVE A LIMITED AMOUNT OF
HOUSING STOCK. SO IF WE COULD
FIX THE CIRCLE, IF WE COULD
PREPARE OUR YOUNG PEOPLE WITH
THE CAREER CONNECTED LEARNING
SKILLS THEY NEED TO COMPETE FOR
THE JOBS FOR THE EMPLOYERS THAT
ARE ALREADY HERE, WE COULD TAKE
PRESSURE OFF OF THE HOUSING
DEMAND ISSUE AND THE
GENTRIFICATION ISSUE AND CREATE
MEANINGFUL FAMILY WAGE JOBS FOR
YOUNG PEOPLE IN THE CITY. I
HAVE A 7-YEAR-OLD DAUGHTER AT
KIMBALL ELEMENTARY AND I'M
LIKE, WHAT IS THE CITY SHE IS
GOING TO TRY TO ENTER THE
WORKFORCE INTO? WE ARE AT THE
BEGINNING OF THIS A.I.
CONVERSATION WHICH IS A TOPIC
FOR ANOTHERDAY BUT THE FUTURE
OF WORK WILL DRAMATICALLY
CHANGE AGAIN. I THINK THE ONLY
THINGS THAT WILL NEVER BE FULLY
AUTOMATED IS THE WORK, THE
JOBS, THE EXPERIENCES THAT ARE
CENTRAL TO HUMAN CREATIVITY AND
STORY TELLING. THOSE ARE THE
THINGS THAT THE ROBOTS CAN'T
DO. IF WE CAN PREPARE OUR KIDS
WITH THOSE SKILLS, K-12, POST
SECONDARY, IF WE CAN GET THE
BUSINESS COMMUNITY TO INVEST IN
THE CAREER TRAINING TO GET
THOSE JOBS, THE JOBS OF THE
FUTURE, I THINK THOSE ARE HUGE
PRIORITIES. I THINK ALL OF THAT
LIVES IN A STRUCTURE OF EQUITY.
WE KNOW WHICH STUDENTS HAVE HAD
THOSE STUDENTS HISTORICALLY. WE
KNOW WHAT STUDENTS ARE LIKELY
TO HAVE THOSE STUDENTS TODAY.
WE NEED TO ENSURE THAT EVERY
STUDENT IS PRIORITIZED IN
OFFERING THE OPPORTUNITIES.
THANK YOU FOR COMING TO MY TED
TALK, A SIDE RANT THERE. THIS
IS THE INFORMATION THAT IS
SWIMMING AROUND IN MY HEAD ALL
THE TIME. SO I HAVE TO TELL
PEOPLE.
>> YEAH, THERE'S A LOT. WE LOOK
AT WORKFORCE DEVELOPMENT IN I
GUESS A DIFFERENT WAY. WE LOOK
AT LAND USE , RIGHT? WE ARE
LOOKING AT PR SPACES WHERE THEY
PROVIDE A LOT OF JOBS FOR THE
WORKING CLASS FOLKS. SO WE MAKE
SURE IN ANY MRN, YOU KNOW, THAT
WE PROVIDE THAT SPACE FOR THE
WORKERS. WE LOOK AT THE
NEIGHBORHOOD AS A WHOLE AND SEE
WHAT THE INCOMES ARE, WHAT
SECTORS IN THE WORKFORCE WE
HAVE, YOU KNOW. WE HAVE A LOT
OF RESTAURANT WORKERS. WE HAD A
LOT OF DAY WORKERS, A LOT OF
VENDORS. WE HAVE HUNDREDS OF
VENDORS. YOU KNOW, THIS IS WHAT
A LOT OF THE WORKING CLASS ARE
DOING. SO WE TRY TO MAKE SURE
THAT WE ARE PROTECTED, THAT OUR
VENDORS ARE WORKING WITH
PERMITS, MAKING SURE THAT WE
HAVE OPEN SPACE FOR THEM WHERE
THEY CAN WORK ON. AND AGAIN,
THE PDR SPACES, WE WORK WITH
THE CITY, MAKING SURE IT IS
PRESERVED BECAUSE THAT IS
DISAPPEARING. THE PDRs ARE
PRODUCTION, DISTRIBUTION,
REPAIR. THOSE ARE YOUR AUTO
SHOPS, PLACES WHERE YOU GET
YOUR TIRES CHANGED. THEY ARE
DISAPPEARING. WE ARE LOOKING AT
PRESERVING SPACES THAT PROVIDE
THOSE JOBS. IT IS A BIG ONE FOR
US. AND THEN PROTECTING THE
ONES THAT ARE VERY ROOTED IN
COMMUNITY, LIKE THE DAY LABORS,
MAKING SURE THEY HAVE A SPACE
WHERE THEY CAN GATHER AND
EMPLOYERS CAN COME IN TO HIRE
THEM IN A SAFE WAY. OUR ARTISTS
TOO. YOU MAKE SURE THERE ARE
THE ARTS. IT IS A CONSTANT
STRUGGLE. HOW DO WE KEEP THEM
EMPLOYED? SO WE LOOK AT IT THAT
WAY, YOU KNOW. WORK FORCE
DEVELOPMENT, PRESERVING THOSE
SPACES AND PRESERVING THOSE
JOBS AND THOSE SECTORS, YOU
KNOW. BECAUSE SOMETIMES THERE
ARE MOVEMENTS OF GETTING RID OF
THE DAY LABORERS, THEY DON'T
WANT TO BE SEEN. THEY NEED TO
BE SOMEWHERE BUT THEIR WORK IS
OUTSIDE. SO WE ARE IN A
CONSTANT BATTLE OF MAINTAINING
THE WORKFORCE.
>> YEAH, THERE ARE SOME VERY
IMMEDIATE CHALLENGES THAT NEED
TO BE ADDRESSED ON A DAY TO DAY
BASIS TOO, I CAN IMAGINE. GO
AHEAD, CHIEKO.
>> I'M JUST STARTING TO UNRAVEL
THE COMPLEXITIES OF CREATIVE
ECONOMY. AND CULTURAL AND
CREATIVE WORK FORCES. BUT THE
THING I APPRECIATE ABOUT IT IS
THAT IT IS MOVING AWAY FROM
LIKE FRAMEWORKS OF CAPACITY
BUILDING WHICH I FEEL LIKE WE
USE A LOT IN THE CULTURAL
SECTOR WHICH IS FOCUSED ON
HELPING AN INDIVIDUAL WITHIN
THEIR CAREER, WITHIN PROBABLY A
CULTURAL INDUSTRY AND MOVING
TOWARDS KIND OF WHAT I SEE AS A
MORE WHOLISTIC LOOK AT THE
HUMANS WHO POWER OUR FIELD AND
ALSO OUR CREATIVE BUT MAYBE IN
OTHER INDUSTRIES. SO JUST KIND
OF THAT HUMAN APPROACH TO
LOOKING AT ALL ASPECTS OF THE
PEOPLE THAT MAKE OUR WORK GO
AND TRYING TO FIGURE OUT HOW TO
SUPPORT THEM USING ALL OF THE
SYSTEMS THAT ARE ALREADY
AVAILABLE THAT MIGHT BE JUST
NOT BEING USED WIE THE CULTURAL
SECTOR.
>> RIGHT, IMPORTANT NOTE, THANK
YOU FOR THAT. I APPRECIATE IT.
WELL, I WANT TO SAY THANK YOU.
I DO -- I DON'T HAVE TIME BUT I
WILL ASK ONE MORE QUESTION. ONE
ANSWER, ONE WORD, WHAT IS THE
NEXT CULTURAL EVENT THAT YOU
ARE LOOKING FORWARD TO
ATTENDING IN YOUR COMMUNITY AND
I'M GOING TO START WITH ERICK.
>> SAN FRANCISCO MAY 27th.
>> THAT SOUNDS FUN.
>> CHIEKO?
>> I'M GOING TO THE NORDIC
MUSEUM ON SUNDAY WITH A CLOSE
FRIEND TO SEE -- LESLIE WILL BE
SO UPSET WITH ME. I CAN'T
REMEMBER THE NAME OF THE
ARTIST. THERE IS A SOUND?
INSTALLATION THAT HAS TO DO
WITH THE TIDE. I'M REALLY
EXCITED IT SEE IT.
>> THAT SOUNDS FABULOUS. RANDY?
YOU ARE MUTED.
>> OF COURSE I AM. IT IS THREE
YEARS INTO THE PANDEMIC. THE
DANCE THEATER GALA ON FRIDAY
NIGHT AT 6:30, TO RAISE ALL OF
THE MONEY FOR ALL OF THE
CHILDREN AND COMPANY MEMBERS.
>> THAT SOUNDS AMAZING. THANK
YOU SO MUCH. THANK YOU ALL FOR
BEING HERE. THIS WAS A GREAT
CONVERSATION. I'M VERY EXCITED
TO BE IN COMMUNITY WITH ALL OF
YOU. THAT IS THE END OF THIS
DISCUSSION OF SEATTLE WITHIN
REACH. AS I SAID AT THE
BEGINNING, IF YOU HAVE
SUGGESTIONS FOR TOPICS YOU ARE
INTERESTED IN HAVING US
DISCUSS, QUESTIONS OR COMMENTS,
PLEASE SEND THOSE TO EVELYN
CHOW ON MY STAFF AND WE WILL DO
OUR BEST TO INCORPORATE THEM.
YOU CAN FOLLOW ON SOCIAL MEDIA.
IF YOU WANT TO WATCH IT AGAIN
OR SHARE IT WITH SOMEONE, YOU
CAN FIND A LINK ON MY COUNCIL
WEBSITE.
SEATTLE.GOV/COUNCIL/MORALES.
THANK YOU SO MUCH FOR BEING
HERE EVERYONE. HAVE A GREAT
AFTERNOON. SEE YOU LATER.
>> THANK YOU SO MUCH.
>> THANK YOU.